6. 'The Shining' (1980)

Electronic instrument maven Wendy Carlos worked with Stanley Kubrick on 1971's "A Clockwork Orange" and the two reunited for the reclusive director's chilly adaptation of Stephen King's haunted hotel epic starring Jack Nicholson and Shelley Duvall. Though Carlos and his co-composer Rachel Elkind wrote other selections for the film, Kubrick ended up using much of the avant-garde compositions of Krzysztof Penderecki instead (perhaps following the example of director William Friedkin, who had done the same for 1973's "The Exorcist"). But the duo's spine-chilling, synth-based main title, based on Berlioz's "Dies Irae" from his "Symphonie Fantastique," remains as a testament to their scary approach. Martin Scorsese took a similar route in utilizing atonal, modern classical compositions to help supply a menacing mood in 2010's "Shutter Island." Listen to music from "The Shining"

Electronic instrument maven Wendy Carlos worked with Stanley Kubrick on 1971's "A Clockwork Orange" and the two reunited for the reclusive director's chilly adaptation of Stephen King's haunted hotel epic starring Jack Nicholson and Shelley Duvall. Though Carlos and his co-composer Rachel Elkind wrote other selections for the film, Kubrick ended up using much of the avant-garde compositions of Krzysztof Penderecki instead (perhaps following the example of director William Friedkin, who had done the same for 1973's "The Exorcist"). But the duo's spine-chilling, synth-based main title, based on Berlioz's "Dies Irae" from his "Symphonie Fantastique," remains as a testament to their scary approach. Martin Scorsese took a similar route in utilizing atonal, modern classical compositions to help supply a menacing mood in 2010's "Shutter Island." Listen to music from "The Shining"

Electronic instrument maven Wendy Carlos worked with Stanley Kubrick on 1971's "A Clockwork Orange" and the two reunited for the reclusive director's chilly adaptation of Stephen King's haunted hotel epic starring Jack Nicholson and Shelley Duvall. Though Carlos and his co-composer Rachel Elkind wrote other selections for the film, Kubrick ended up using much of the avant-garde compositions of Krzysztof Penderecki instead (perhaps following the example of director William Friedkin, who had done the same for 1973's "The Exorcist"). But the duo's spine-chilling, synth-based main title, based on Berlioz's "Dies Irae" from his "Symphonie Fantastique," remains as a testament to their scary approach. Martin Scorsese took a similar route in utilizing atonal, modern classical compositions to help supply a menacing mood in 2010's "Shutter Island." Listen to music from "The Shining"